57 pages • 1 hour read
A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
In 1964 New York, civil rights activist Odetta Holmes is being driven home by her chauffeur, Andrew. The daughter of wealthy businessman Daniel Holmes, Odetta was detained in Oxford, Mississippi, for three days because of her racial affiliation and political stance. She knows that her fame and her father’s wealth were the only reasons she was left alive in the racist town. When Andrew mentions a newspaper article describing the recently assassinated President John F. Kennedy as “the last gunslinger” (208), Odetta argues against the piece. She tells Andrew that the violent description is far from Kennedy, whom she saw as a man of peace. The term “gunslinger” gives her goosebumps for some reason. Andrew sees Odetta rub her temples, a sign that she’s on the verge of a migraine and one of her spells of disappearance. Odetta often goes incommunicado for days and doesn’t ask Andrew to drive her anywhere; when Andrew later asks her about the time she was away, she looks puzzled.
What Andrew and Odetta don’t know is that Odetta has dissociation, a condition in which a person can develop two or more identities that are distinct from each other. The identities may or may not be aware of the other. When Odetta was five, serial killer Jack Mort dropped a brick on her head, intending to kill her. Odetta survived but went into a brief coma. In this comatose state, Odetta developed another identity: Detta Walker. Detta began to grow stronger after the subway incident of 1959: John Mort resurfaced and threw Odetta in front of a train. Her legs were amputated from the knee down. Detta has been more powerful since then. Although Odetta has no idea that Detta exists, Detta can sense that the periods in which she loses time are occupied by another person. Unlike measured and peaceful Odetta, Detta is more impulsive and focused on her needs.
Back on the beach, in the doorway marked “Lady of the Shadows,” Roland and Eddie look through the lady’s eyes. They’re in a department store in a city. Eddie recognizes the city as New York but from a time decades before his. He still wants to enter the city because he’s sure to find cocaine there. Roland and Eddie are surprised to see the hands of the woman quietly shoplifting many items. Roland is reluctant to bring Eddie with him because he knows that Eddie wants to procure drugs. Eddie threatens Roland, saying that if he leaves him behind, he’ll kill Roland’s body on the beach. To Eddie’s surprise, Roland quickly crosses the doorway. Enraged, Eddie holds his knife to Roland’s unconscious body, intending to slit his throat.
In August 1959, George is a medical intern assigned to a shift with emergency paramedics. He had been doing well on the emergency rotation, despite handling the carnage at mass accident sites, until the trauma of tending to severely injured people led to nightmares about his dead mother. For some time, George gave up the idea of becoming a doctor but revived and joined the “paras.” Despite his exposure, the recent subway attack on a pretty young Black woman left George unsettled. The woman was deliberately pushed onto the tracks by someone in the crowd, who then ran away. She lived, but the train ran over her legs.
The strangest part was that when George and the other intern took her to the Sisters of Mercy hospital, the woman seemed to switch personalities. One moment, she was calm, though afraid, and politely asking about her injuries. The next, she was shouting in anger, talking in an exaggerated dialect, and threatening to kill the white man who did this to her. George was relieved when the woman fainted.
When Roland enters the mind of Detta Walker, Detta senses his presence immediately. She’s outraged that someone walked into her mind. Roland feels her fury, thinking of her mind as a “snakepit of hate and revulsion” (249). Roland’s and Detta’s reactions to each other make Roland realize that Detta is used to sharing her mind with someone else. Meanwhile, Detta panics and drops the items she was shoplifting and races out of the store in her wheelchair, as if to flee from the man in her mind. Guards chase her, but after a curve in the road, Detta disappears. Roland has taken over Detta and enters the doorway. The doorway is open, indicating that Eddie didn’t kill Roland after all. Roland brings Detta to Mid-World.
Although Eddie puts his knife to Roland’s throat, he can’t bring himself to kill him immediately. He then looks at the doorway and is distracted by the scene flickering in front of him as if in a movie like The Shining. A woman enters the doorway. She ends up next to Eddie, who is holding a knife. She politely asks him what he intends to do with it. Eddie is taken aback since he’d expected her to ask where she was first. The fact that she doesn’t ask this question suggests that she’s used to ending up in strange places.
The woman has no idea how she came to the beach. Odetta tells Eddie that the last thing she remembers is watching the TV for news about her activist friends who were still being held in Oxford, Mississippi. She thinks Eddie might have abducted her from her home. Roland, now in his body, comes up to Eddie and Odetta. He has already sensed that Odetta has two identities in one body. When he entered the doorway with her, he felt her shift. Roland felt a strange sensation pass through her, something she hadn’t felt before. He can’t yet explain it. Bewildered, Odetta breaks down. Eddie hugs her to console her, noticing Roland’s aloofness with the lady. He calls Roland “nothing but a goddamn machine” (259). Roland reflects that he wants to feel emotion, but his training is that to reach the Dark Tower, he can’t be distracted by love or pity. This is why (in The Gunslinger) he let Jake go to his death, even though he considered Jake his child.
Eddie explains the doorway and the beach to Odetta, but Roland is wary of her and keeps his distance since he knows of Detta’s existence. Odetta and Eddie become friends as they and Roland search for the third door. Eddie tells Odetta about his past and his drug use, while she tells him about racial discrimination in her timeline as well as her past. She tells Eddie that someone dropped a brick on her head when she was a child while she waited on the sidewalk because a white taxi driver had refused to drive her and her parents. When she recounts her terrible time in Oxford, Mississippi, Eddie recalls that as children, he and Henry used to listen to a song called “Oxford Town” by Bob Dylan, the opening lines of which are “Two men killed by the light of the moon, / Somebody better investigate soon” (268), referring to lynchings of Black people in the state. When Eddie refers to Odetta as Black, she’s surprised. Eddie explains that this is how Black Americans choose to identify in his time. Despite Odetta’s request not to refer to her as such, Eddie pushes on.
When Odetta tells Eddie about losing chunks of time, he asks her to examine the question logically. Odetta believes that someone clubbed her in Oxford, which is why she lost consciousness and woke up on the beach. Eddie refutes this conclusion since Odetta remembers coming back from Oxford. Odetta grows agitated and rubs her temples. Meanwhile, Roland pulls Eddie aside and tells him not to trust Odetta since she’s not the same person whose mind he entered in Macy’s. Although Roland can see that Eddie is falling in love with the pretty and intelligent Odetta, Eddie can’t let down his guard.
Roland knows that Eddie, in the first flush of love, will ignore his advice. He therefore stays up at night, watching Odetta. The night after Eddie argues with Odetta, Detta awakens and comes to Eddie, retrieves the gun next to him, and points it as his temple. She pulls the trigger, but the gun doesn’t fire because Roland loaded it with spent casings. Roland recognizes Detta as a born gunslinger despite her disability. He still doesn’t intervene between Detta and the sleeping Eddie, as he wants Eddie to learn his own lessons, just like Roland did under the training of the gunslinger Cort, his mentor. As Detta screams in anger at the misfiring gun, Eddie finally wakes up. Roland yells at Eddie to get his gun belt so that they can tie Detta’s hands.
In Detta’s head, the events of coming into Mid-World play out differently. She believes that Roland and Eddie hit her and called her ugly racist and sexist epithets. She recalls that they fed her meat from venomous monsters (the lobstrosities). As the men tie her up, her worst suspicions are confirmed. Detta yells cuss words like “greymeat” at Roland and Eddie (295). Eddie feels that Detta talks like a caricature of a Black person from the South, as if from a bad movie. Privately, he tells Roland that Detta is pretending at something, even if she doesn’t know it. Her accent and behavior are an act.
Eddie also tells Roland that Detta is “schizophrenic,” a condition in which the mind is divided. Eddie adds that he experienced something similar in the split second when Roland brought him into Mid-World through the doorway. At that moment, Eddie felt that he was looking at himself, as if in a mirror. Roland realizes the strange sensation Odetta and Detta felt when he crossed the doorway with them. They saw each other, but unlike Eddie, who saw his mirror image, the two women saw their reflections as the other’s identity. Odetta and Detta now know of each other’s existence, even though they have yet to realize it.
Detta’s behavior degenerates as the men pull her wheelchair behind them on the beach, so much so that Eddie feels like throttling her. She refuses to eat the meals Eddie cooks because she thinks he and Roland are trying to poison her. Meanwhile, Roland notices that his infection and fever are returning now that he’s out of antibiotics. They must find the third door soon. A couple of days pass, and then Eddie begins to notice hills in the distance, signaling an end to the beach. Roland is growing increasingly sick. Hungry and exhausted, Detta faints, and Odetta returns. Just then, Roland’s legs buckle, and he crashes into the sand.
This section introduces the third protagonist in the text: Odetta Holmes. Through Odetta’s character, the text further explores the motif of doubles and pairs. In addition, it emphasizes the question of the effects of past trauma. This set of chapters is also notable for descriptions that illustrate the cinematic quality of writing. The text even references movies, including a movie based on King’s other work. The motif of eyes and the concept of viewing the world through the eyes of others takes center stage. An important question explored here concerns the dangers of valorizing violence. The gunslinger lives by the code of violence, but as this section shows, violence can often be self-destructive.
Odetta’s presence introduces a new timeline and begins a conversation about race relations and racial politics in 1964. The introduction of a new timeline and new perspective enlivens the narrative, but the presentation of Odetta’s dissociative personality is problematic. On one level, the idea that racial biases and racial violence led to Detta’s rage is interesting. Her anger is a metaphor for the trauma of racial abuse. However, the presentation of her character complicates this reading. Detta speaks in an exaggerated dialect, and her mind is described as a “snakepit of hate and revulsion” (249). The dialogue attributed to Detta includes lines like “You aint nuthin but a buncha honky sonsa bitches!!” (245). She’s described as a “shrieking, convulsing thing” (285). Although Eddie comments that Detta’s dialect is a caricature, possibly drawn from bad movies, the portrayal is still disconcerting.
Similarly, the treatment of a serious mental health issue like dissociative identity disorder is clunky. This can partly be attributed to the book’s having been written in the late 1980s, when the conditions of dissociative identity disorder and dissociation were poorly understood. Nevertheless, the neat division between a good and a bad self is a simplistic portrayal of the condition. In real terms, the different personas may not be as distinct from each other or may be experienced only as voices. From the point of view of literary analysis, it may be more helpful to view Detta as another aspect of Odetta, just as all people, whether neurodivergent or not, have different sides. While Odetta wants to approach racism from the reasonable viewpoint of a civil rights activist, part of her gets fed up with the struggle. Significantly, the Detta shift in this section occurs after Odetta has a nightmarish experience in Mississippi, which at the time is an extremely racist state. The section in which Odetta and Andrew talk in the car contains an important bit of foreshadowing. When Andrew uses the term “gunslinger,” Odetta feels goosebumps. This predicts her connection with the ka-tet, or destined fellowship, Roland is recruiting and foreshadows that Odetta’s ka is to become a gunslinger.
Since Odetta/Detta is one of the chosen ones for Roland’s quest, part of his new ka-tet, the text foreshadows the redemption of her character. When Eddie falls in love with Odetta, it becomes clear that love will have a transformative effect on Odetta’s persona. The sections when Odetta and Eddie come close provide a respite from the urgent, action-packed plotlines that have dominated the text. The interactions between a man from 1987 and a woman from 1964 explore the fish-out-of-water trope again, sometimes uncomfortably. For instance, when Jake refers to Odetta as Black, she considers it “a trifle rude” (264). While such misunderstandings are meant to be funny, in this case the humor is lost. More powerful are Odetta’s descriptions of riding the Jim Crow (segregated) car, a reality that Jake can’t imagine. Eddie naively imagines racial discrimination as a thing of the past, but when he recalls the popular singer Bob Dylan’s song protesting lynchings in Mississippi, it becomes clear that systemic racism is pervasive.
The Bob Dylan song is one example of the text’s many pop-culture references. Most often, these references are part of Eddie’s point-of-view narration or the omniscient narrator’s viewpoint. The references provide hooks to draw the reader into the novel’s world, making it more relatable. When Eddie views the world through Detta’s eyes, he describes the viewpoint as “one of those moving point-of-view shots they did in ones like Halloween and The Shining” (226). The meta-joke here is that both movies are considered classics of the horror genre, for which King is known. The Shining (1980) isn’t just a horror classic; it’s based on King’s novel of the same name. Apart from pop-culture references, the text uses descriptions that are cinematic in tone to appeal to readers. Roland’s view of the world when he steps inside the head of characters is often described as a sweeping or close shot. Likewise, the text borrows terms from the cinema to describe how a character holds the simultaneous view of the action in the doorway and their current world. For instance, Eddie thinks of the doorway as a “magic movie screen” (226), through which a person can walk out of the frame and into the real world.
Additionally, this section questions the myth of the gunslinger. As the gunslinger, Roland believes that he’s noble since he was trained to protect the world from crime at an early age. In his world, gunslingers are hallowed, analogous to medieval knights. Therefore, Roland believes in the rightful destiny of his mission and his actions. However, Eddie is skeptical of the code of violence Roland follows. He questions the idea that being a soldier is always noble since he witnessed the effects of the Vietnam War—a war in which America’s involvement was controversial—on Henry. Odetta also questions the concept of a soldier as perpetually noble when her chauffeur refers to the assassinated president John F. Kennedy as the “last gunslinger.” To her, the very idea that guns can fix the world is problematic since handing people guns is a slippery slope. Here, the text hints at questions about the extent to which real gunslingers like Roland are akin to abusers of violence; the motif will be refined in the last third of the book. This alludes to the theme of The Complex Nature of a Quest.
Plus, gain access to 8,800+ more expert-written Study Guides.
Including features:
By Stephen King
Action & Adventure
View Collection
Challenging Authority
View Collection
Community
View Collection
Fate
View Collection
Forgiveness
View Collection
Friendship
View Collection
Good & Evil
View Collection
Loyalty & Betrayal
View Collection
Mortality & Death
View Collection
Order & Chaos
View Collection
Power
View Collection
Safety & Danger
View Collection
Trust & Doubt
View Collection
Valentine's Day Reads: The Theme of Love
View Collection
Westerns
View Collection